When I first saw ads for this movie in the summer and read that it's based on F. Scott Fitzgerald's short story, I immediately read the short story so that I could have an idea what this movie was about. This is a first rare instance for me where the movie is better than the story. To be fair, the movie is very loosely based on the story, and Fitzgerald's story is truly short for him to delve into the psyche of the characters and their tragedy of the situation (one could even say that the short story is comical). But in this movie I found myself sympathizing with Benjamin and Daisy as if they were real people, without even thinking for a second how bizarre Benjamin's condition is. And the movie is wonderfully made. It's amazing to see Benjamin (Brad Pitt) "grow young" from a very elderly person to a young man in his twenties and Daisy (Cate Blanchett) grow old on screen.

When I saw the trailers for this movie I was sure I would not even come close to watching it. I'm typically not into science fiction. But I was complete wrong about this one. It took a bit of convincing to get me into the movie theater but I'm so glad I did. Not only was I not borred (it runs almost 3 hours) and not only did I not get dizzy from the 3D (as I had feared) ... but I immensely enjoyed it, laughed and cried and left the theater hoping people would take the issues raised in this movie more seriously.

I thoroughly enjoyed Burlesque tonight. It was a pleasure to see an uplifting movie, with very kind and believable characters. Plus, Cher is awesome. And of course, Christina has an amazing voice. Go see the movie. You won't be disappointed

In the isolated Armenian countryside, Will (Foster) is a cartographer for an American satellite company, mapping the last unknown corners of the world. In a hotel breakfast room, Garadine (Azabal) helps him to order breakfast. She’s a photographer, recently returned to her home-country after having her first solo exhibition in Paris. He is heading east into unchartered land, and she hitches along for the ride, taking the opportunity to catch up with friends and family who she’s long since left behind, and to photograph the desolate mountains. The two travellers develop an intense bond, making their journey an intensely emotional one.

Here is a journey film, from the literal road trip, the emotional journey of the relationship, to the personal developments within the protagonists as individuals. It covers a lot of ground, focusing on human connections, familial obligations, the lure of dreams, and the freedom that being on the road can afford. Away from their friends and family, their usual pressures and routines, both Garadine and Will can ‘be themselves’ and behave outside of their usual character, forming a close, binding bond which neither wants to let go of. They travel deeper into unchartered ground, both literally and metaphorically.

Director King utilises the natural landscape to his absolute advantage, using wide shots to capture the natural beauty of the mountain and the trees and barren expanses of fields. Armenia looks very much like a place that we’d like to explore too. In one scene, Garadine directs Will to a waterfall, and the two swim in the water surrounded by lush vegetation. Garadine swims topless, accentuating the naturalness of their surroundings and feelings, moving fluidly, not unlike a mermaid as her hair flows behind her and Ben is helpless in his attraction. It seems so inevitable, how could they not?

King doesn’t show the two characters talking about their feelings or situation, much to our gratefulness. He also holds back on showing us the physical intimacy between the two. Sex is alluded to, but never explicitly shown, and they rarely kiss. Instead, emphasis lies on the deeper connection that they share, implying that what they have is more than a holiday romance, and runs deeper than a convenient backpacker’s lust. The film is quite slow to get going, and had a long running time at two hours. Garadine’s back story is much more developed than Will’s, and her life was features much more prominently than anything about Will. Thus the film is slightlyone-sided, and whilst I wouldn’t want to leave any of it out, perhaps it could have been condensed a little bit. Or, King could have eliminated the pockets of narration, the presence of which baffled me a bit and seemed unnecessary, telling a story about explorers.

The on-screen chemistry between Foster and Azabal is key to the success of this film and provides the heart which keeps the audience interested. The duo aren’t mawkish, and playe their roles with a realistic seriousness. Foster employs the same understated intensity that he previously showed at the festival in 360. He’s taciturn and brooding, easily conveying his emotions through a well-timed silence. Azabal wears Garadine’s emotions with much more ease, making the two an interesting duo to watch on screen. There is a symmetry between their jobs and their character. Will goes out into the unknown, photographing with the purpose to acquire an understanding, whereas Garadine is more of an independent observer, happy enough to go where her life takes her, cutting ties loose and following her heart. She seems more in touch with herself and the world than Will, more relaxed and easy going about life, which is shown in their one, big blow out. He’s angry after Garadine crashes his car, and goes off in a huff to map, leaving her in the hotel. Not one to sit about, she goes on a trip too, but doesn’t leave a note to tell him where. He’s unable to deal with the spontaneity that left him alone for an evening, whilst she implores that he focus not on her absence, but for the reasons for her return. This scene is very telling for both of the characters, laying bare their inner-most feelings, and asking the questions that they perhaps should have already addressed. For Garadine in particular this is a revealing moment, as she’s not just yelling at Will, but her parents and brother as well, “I came back!”, asking them to forgive her too. Perhaps because more of the script focuses on her, but we enjoy watching Garadine more than Will, she is more captivating as a character, and a well written one at that. King shows how she could be unreliable and unlikeable, and yet throughout the film both Will and the audience came to rely on her, and really like her.

Despite it’s slow start, Here really grows on you. The on-screen chemistry and the beautiful scenery is spellbinding, and we become surprisingly invested in Garadine and her relationship with Will.